Girnarastha Kumar Viharni Samasya

Here's a comprehensive summary of the provided Jain text, "Girnarastha Kumar Viharni Samasya" by M. A. Dhaky, focusing on the "Khartara-vasahi" at Girnar:

The article meticulously details the Khartara-vasahi at Girnar (Ujjayantgiri), a significant Jain temple. The author, M. A. Dhaky, aims to clarify its history, architectural features, and refute common misconceptions.

Identification and Misconceptions:

• Current Name: The temple is presently known as "Melavasahi," "Merakavasahi," or "Merakavashi."
• Misnomer: Dhaky argues this current name is a misnomer. He differentiates it from a "Melagar" (melancholy) temple mentioned by some "Chaityapari patikars" (temple chroniclers), which was dedicated to Dharmanath and located elsewhere.
• Khartara-vasahi Identity: The temple in question is clearly identified as the "Khartara-vasahi" by contemporary chaityapari patikars. Its builder is identified as Bhansal Narpal Sanghvi.

Historical Context and Construction:

• Construction Date: The construction of this Khartara-vasahi is dated to Samvat 1511 / AD 1455 according to the "Jayasaagaropadhyaya Prashasti" by Khartara-gachchhiya Upadhyay Jayasom.
• Earlier Evidence: However, its depiction on a "Shatrunjay-Girnar Shila Patta" (stone plaque) made in Samvat 1501 / AD 1451 at the Dharanvihar in Ranakpur indicates that the Khartara-vasahi must have been built before this date.
• Debunking a Legend: A widely circulated legend, often repeated without investigation, claims that the temple was built with funds that King Jayasingh Siddharaj did not use for the construction of the Nemianth temple, as the required amount was already prepared by his minister Sajjan. Dhaky states that there is no contemporary or later mention supporting this belief.
• Architectural Style: The architectural style clearly points to the 15th century.

Deities and Iconography:

• Original Main Deity: In the 15th century, the presiding deity was a seven-metal (saptadhatu) seated image of Vir (Mahavir) adorned with gold, created by the Khartara-gachchhiya Sanghvi.
• Accompanying Deities: Flanking the main deity were brass (pittal) karyotsarga (standing) images of Shantinath and Parshvanath.
• "Sampratikarit" Interpretation: The fact that the main deity was "Sampratikarit" (meaning "made during the time of Samprati") is mentioned by several chroniclers. This led to the belief that the temple was originally known as the "Samprati Raja's temple." However, Dhaky clarifies that this title likely referred to a different temple built later by Shangharaj and Bhave from Khambat in 1459 AD, originally dedicated to Vimalnath.

Architectural Features:

The article provides a detailed description of the temple's architectural elements:

• Layout: The builders utilized the available space efficiently to accommodate a fifty-two-Jinalaya (temple complex) plan, albeit compressed.
• Mukhamandap (Entrance Hall): Upon entering, one first encounters the Mukhamandap. It features beautifully carved reliefs of "Panchangavir" (five Tirthankaras) and "Vasudev-Gop-Leela" (Krishna's childhood exploits). The faces of some sculptures were damaged during Mahmood Begada's invasion and later restored.
• Rangamandap (Assembly Hall): This hall contains a remarkable "Sabha-padma-mandarak" type mahavitan (dome ceiling). The rupkanth (central part of the dome) depicts scenes of the Kalyanaka ceremonies and processions of devotees.
• Columns and Ceiling: The Rangamandap features intricate carvings, including "Gajatalu" (elephant motifs), "Kaal" (decorative bands) with fine jewel-like carvings, and "Vajrashringas" (ornamental corners) filled with lotus flowers.
• Pedestal (Padmashila): The original "Padmashila" (lotus pedestal) has been replaced with a modern, "Lamban" style motif in a gold plate secured with iron nails.
• Exterior of the Dome: Each section of the large, circular dome has a substantial prasamukh (ornamental projection).
• Chowki (Platform/Raised Area): The platform area after the Rangamandap is noted for its relatively low level, which somewhat diminishes the architectural harmony. It also contains domes, one of which features an impressive "Nabhichhanda" style ceiling supported by gracefully arranged columns.
• Gudhamandap (Sanctum): The Gudhamandap is entered through a seven-branched door (Saptashakhadar). The marble threshold is a modern addition. The door jambs (khattaka) are adorned with elaborate carvings of "Illikavalana" and depictions of Saraswati.
• Exterior Walls: The outer walls of the Gudhamandap display sculptural features typical of the period, including Yakshis, Yakshas, Vidyadevis on "Kumma" (turtles) and Dikpalas, Apsaras, and Jin-murti in "Gadha" (niches). Many of these are damaged. The sculptures, particularly those of the Dikpalas, show a fluidity compared to other 15th-century works elsewhere.
• Interior Niches: The interior walls of the Gudhamandap have original niches, though the original sculptures are missing. The original ornate ceiling has been replaced by a modern dome.
• Side Doors: The north and south doors of the Gudhamandap, though having fewer branches than the main door, feature well-executed vine carvings.
• Main Shrine (Prasad): The original shrine was completely dismantled and rebuilt at the beginning of the 16th or 17th century. The new shrine features "Pabandh" (decorative patterns) instead of "Rupakams" (relief carvings), with Mughal influence in the central floral patterns.
• Reconstruction during Akbar's Reign: The original shrine, built by Narpal Shah, was removed due to damage to its external sculptures. A new shrine was constructed during Emperor Akbar's reign, while the Gudhamandap with its damaged sculptures was left in its original state. Karmachandra Bachhavat, a minister of the King of Bikaner and a devotee of Khartara-gachchhiya Jinachandrasuri, sent funds for renovations at Shatrunjaya and Girnar. It is likely that his funds were used for the restoration of the Khartara-vasahi at Girnar, specifically for the reconstruction of the main shrine.

The Fifty-two (Bavan) Subsidiary Shrines (Devakulikas):

• Notable Shrines: Among the fifty-two subsidiary shrines surrounding the temple, three are particularly noteworthy.
• Ashtapada Shrine (South): Built by Bhansali Jaga, this shrine, with its "Ashtapada" (eight-stepped) design, and the "Bhadraprasad" were later covered in marble, destroying their original form. The walls of this shrine have also been replaced. However, its "Sabhamandarak" type ceiling, depicting a beautiful procession of Chakravakas and 16 Vidyadevis mounted on horses, remains.
• Sammetshikhar Shrine (North): Built by Dharana Shah, this shrine, depicting Sammetshikhar (or Nandi-shwar), also had its original form obscured by marble.
• Ceiling Artistry: The ceilings of the subsidiary shrines, especially those on the west and north, are considered peak examples of 15th-century ceiling artistry. The article describes various types of ceilings, including those with lotus flowers, stylized floral patterns (similar to those at Adalaj Stepwell), animal motifs, and complex geometric designs.

Masterpiece of 15th-Century Artistry:

• Comparison: The author emphasizes that the craftsmanship, detail, delicacy, and flexibility of the Khartara-vasahi's carvings and ceilings in the 15th century surpass similar contemporary works in Rajasthan.
• Unrivaled Skill: The sculptures and ceilings are described as unparalleled, showcasing a level of detail and artistry that would even impress the craftsmen of the Solanki era. The master sculptors of Girnar are highlighted for their extraordinary skill.
• "Padmanabh" Type Ceiling: A particularly remarkable "Padmanabh" type ceiling is described, featuring intricate floral borders, layered motifs, and a complex interplay of forms. The author states that the sculptors of the Lunavasahi temple at Delvada, renowned for their mastery of marble, would have been astonished by the skill displayed here.

Testimonies from Contemporary Chroniclers:

The article cites several contemporary and near-contemporary Jain traveler-poets and writers whose accounts confirm that the current "Melavasahi" is indeed the original "Khartara-vasahi." These accounts mention:

• Narpal Shah as the builder.
• The presiding deity being a brass image of Vir.
• The presence of Ashtapada and Sammetshikhar (or Nandi-shwar) shrines.
• The specific architectural elements like "Nagabandh" and "Panchangavir" ceilings.

Discrepancy in Shrine Names:

A minor discrepancy is noted where Hemahans Gani and Karnsingh refer to the northern shrine as "Nandi-shwar," while Ratnasinhsurishishya and the traveler-muni refer to it as "Sammetshikhar." The exact original identity of this structure, now covered in marble, remains uncertain.

Earlier Structure:

Karnasingh's account suggests that there was an existing temple at this location before Narpal Sanghvi's construction, implying that the Khartara-vasahi was a renovation or reconstruction of an older edifice. The popular belief about the brass image of Vir being from Samprati's time is also mentioned as emerging in the 15th century.

Khartara-gachchha's Architectural Contribution:

The article concludes by highlighting the Khartara-gachchha's significant contribution to Jain temple architecture, emphasizing their meticulous attention to design, layout, and decorative embellishment. The Khartara-vasahi at Girnar stands as a brilliant example of this.

In essence, this article is a scholarly investigation into the history and architecture of the Khartara-vasahi at Girnar, correcting misidentifications and celebrating its artistic and historical significance within Jain tradition and Indian architectural history.